Example sentences of "[prep] [art] " in BNC.
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| 61 | For the latter he quoted a sentence by Lucian , the second-century Greek rhetorician : ‘ A work of art requires an intelligent spectator who must go beyond the pleasure of the eyes to express a judgement and to argue the reasons for what he sees . ’ |
| 62 | The title of the lecture in which these words appeared was Art-history as an Academic Study , but those were early days for the subject in the British Isles ; only in London was there undergraduate teaching , at the Courtauld Institute which opened in 1933 . |
| 63 | A guide to art reference books published in 1969 had 2,500 entries , some of which referred to series ; for example , there was a single entry for the series of monographs on individual artists , called Klassiker der Kunst , also published in French as Classiques d'Art , in which there are thirty-eight books . |
| 64 | Her argument was that the subjects of the old master paintings could be disregarded by a painter who wished to find lessons for the present in the artistic practice of the past . |
| 65 | It would be too crude a generalisation , though , to say that critics are concerned with form , while historians are interested in the context of art ; both the forms and contexts of art are common ground for the critic and the historian . |
| 66 | A firm basis for the study of Oriental art came more slowly , and as we shall see , some of the differences of approach between East and West still require wider recognition . |
| 67 | To be aware of the limitations of different forms of publication is an advantage for the reader , who can by this means avoid unnecessary disappointments . |
| 68 | In his review for the Salon of 1846 , Baudelaire wrote : ‘ To say Romanticism is to say modern art — that is spirituality , colour , aspiration towards the infinite , expressed by every means available to the arts . ’ |
| 69 | Apollinaire has been aptly called a company promoter of the avant-garde , responsible , as it were , for the successful flotations in Paris of Cubism and futurism . |
| 70 | Matisse and all the others saw the twentieth century with their eyes but they saw the reality of the nineteenth century , Picasso was the only one in painting who saw the twentieth century with his eyes and saw its reality and consequently his struggle was terrifying , terrifying for himself and for the others , because he had nothing to help him , the past did not help him , nor the present , he had to do it all alone and , in spite of much strength he is often very weak , he consoled himself and allowed himself to be seduced by other things which led him more or less astray . |
| 71 | This was difficult to understand for impassioned artists who saw Surrealism and Abstraction as struggling for the soul of modern art . |
| 72 | The murals of Diego Rivera for the Secretariat of Public Education in Mexico City are admitted by the critic Antonio Rodriguez not to be all of an equally high standard , ‘ but what poet could keep up the same lyrical flow for a thousand verses ? |
| 73 | In these 239 murals , covering a surface of 1,585 square metres , there are traces of many influences making up a popular and forceful imagery : ‘ The codices , pre-conquest sculpture , popular art , the study of living people , the colour of nature as well as the paintings of the misnamed Italian Primitives , together with the modern artistic tendencies to which Rivera himself had contributed during his stay in France , all went to form his own peculiar style , which is apparent for the first time in these frescoes . ’ |
| 74 | This is art , as Lenin wished , for the people . |
| 75 | In other political states during the twentieth century , there has been strong support for the view that art should serve a social purpose . |
| 76 | For the latter catalogue Barr chose the Surrealist writer Georges Hugnet to write a historical essay , but it was Barr 's intelligent advocacy and choice of works that made the show such a significant affair . |
| 77 | It is relatively brief , as can be seen by comparing it with a more recent competitor for the same market , H. W. Janson 's A History of Art , which is more than twice the length and has more illustrations ( 928 in 1962 ) . |
| 78 | Again , the need for the deeply interested reader to supplement a survey with other books becomes evident . |
| 79 | For the reader , however , an art defined as national , made as cohesive and marketable as possible , may be less than convincing as an entity ; it may be that within a survey or an anthology there are just a limited number of interesting and attractive works . |
| 80 | The best preliminary plan may be for the reader to open the book upright at ( the illustration ) and then go to the other side of the room , to be imposed on from a distance : it is the nearest the book can offer to the proper first encounter with the figure . |
| 81 | His memories of his Paris studio add spice to his account , for the facilities there were used not only by his students but in addition by such major artists as Miró and Picasso . |
| 82 | The caption material under two images reads as follows : ‘ In the middle nineteenth century , before photography was in general use , Pilinski of Paris was famous ( and notorious ) for the deceptiveness of his copies of old woodcuts . |
| 83 | It is far better to like and admire something that is wrong , or to like and admire for the wrong reason , provided we do so sincerely , than to follow slavishly the dictates or ideas of some other person . |
| 84 | An art historian may choose to elucidate the social context of the art , or trace its sources in the work of other artists ; these choices will be reflected in the illustrations as well as the text , while sketches , other versions of pictures and related material will be available for the reader to make comparisons . |
| 85 | The virtue of artists ' writings for the reader of criticism is that it can often serve as a touchstone for judging the worth of mediators , particularly those presenting views of what the artist intended ; what the artist said may be more to the point . |
| 86 | In the seventeenth century Louis XIV had a sculpture park at Versailles , but it surrounded his palace , and was more formally designed by Le Nôtre , who needed sculptures for the focal points of his avenues . |
| 87 | The site can be adapted to suit the sculpture , which has a dominant role , unlike sculpture destined for the decoration of palatial gardens . |
| 88 | The monograph is accompanied by a facsimile of a sketchbook for the memorial , and documented by letters and printed sources , including articles in the press . |
| 89 | Historians can point to the philosophical views which underlay this ambition , and artists and sculptors were in various ways affected by the demonstration of its realisation in the theatre built for the composer at Bayreuth . |
| 90 | The collaboration of artists with the stage was also brought to a high point by Serge Diaghilev , in his commissions to artists for the Russian Ballet . |